From National Public Radio:
When Harper Lee’s Go Set a Watchman was published earlier this year, readers learned that this much anticipated “second book” by Lee was actually a first draft of what would later become the beloved To Kill a Mockingbird. Lee radically revised this early version of the book on the advice of her editor, Tay Hohoff. That made us wonder: How much do editors shape the final book we read?
On hearing the news about the role Lee’s editor played in the creation of To Kill a Mockingbird, Pulitzer Prize-winning author A. Scott Berg was surprised at first. The story immediately made him think of legendary editor Max Perkins — who shepherded the works of such greats as F. Scott Fitzgerald, Thomas Wolfe and Ernest Hemingway. Berg, who wrote a biography of Perkins, says Perkins had a huge influence on the editors who came after him because of the way he worked with his authors.
“Not only did he change the course of the American literary river, but he changed what editors do by becoming their best friends, their money lenders, their marriage counselors, their psychoanalysts,” Berg says. “And along the way he began offering them titles. He often provided structure for what their novels ought to be. He often gave them whole ideas for what their next book should be.”
That was the way editors interacted with their writers for many years after Perkins came on the scene, Berg says, but now publishing has changed: These days there is more pressure on editors to acquire best-sellers, and they are much more involved in marketing a book. And that, he says, leaves precious little time for actual editing.
“Make no mistake about it: That editor-author relationship is still fundamental to good books,” says Berg. “But it’s not necessarily cost-effective for book editors to invest as much of their time into any single manuscript or any single author and that’s simply because the publishing houses have not encouraged their editors to edit.”
Link to the rest at NPR and thanks to Deb for the tip.